![]() In 1991, she relocated with her family to Sauve, a village in Southern France. She is the daughter of underground comix artists Robert Crumb and Aline Kominsky-Crumb.Ĭrumb was born in Woodland, California and lived in the nearby farming town of Winters with her parents until she was nine years old. (Once in a hat store in Borough Park, I watched a young Hasidic man confront a dressing mirror in a black hat that, to my eyes, looked exactly like every other hat in the store, and say thoughtfully, “No, I think I liked the other one.Sophia Violet "Sophie" Crumb (born September 27, 1981) is an American-French comics artist. Havel has worked with men’s shirts before, and Seven Variations can certainly be read as a mordant and complex comment on the nature of consumerist ideas of purity and beauty, their falsity and gluttonous emptiness. ![]() Far more striking than these patterns imposed by the artist are the smaller-scale patterns that emerge naturally from the organic imperfection of the process, the labels turning and writhing under one another’s pressure like struggling sea creatures rendered as a static Platonic form. The labels are arranged in seven simple patterns–a square target, vertical columns, horizontal rows, diagonals and so on–but always sideways, so that the word “nothing” is only visible from the sides of the frames. From closer up, the paintings are revealed to be plexiglass boxes filled with neat columns of white shirt labels each is embroidered with the word “nothing,” which the artist photocopied from one of John Berryman’s Dream Songs. The larger piece, Seven Variations of Nothing, is described as a set of seven monochrome “paintings,” and they do, in fact, when first noticed through the gallery’s enormous windows, look like paintings. Havel has carefully cut every word out of the book–except, on page 101, the word “No!” The first, smaller piece is a hardcover copy of A Void, the novel-length lipogram written by Oulipo founder Georges Perec, and translated into English by Gilbert Adair, without the letter “e.” Mr. ![]() JOSEPH HAVEL, AT Yvon Lambert, has on display two explorations of the substance of the void. ![]() “I have let go,” she writes, on one drawing in the book, “of all that pressure of living up and being compared to ‘the Legend.'” From a personal standpoint, if that’s true, we can be happy for her but from an artistic standpoint, we’d rather see a head-on confrontation in all its gory messiness. Crumb’s tabloid-style portraits of Britney and Angelina don’t illuminate the nature of their fame so much as make you wonder about Ms. Crumb’s compulsive archiving: How often can we watch an artist develop from nursery-school drawings all the way through to adulthood?Įven a bare acknowledgment of nepotism is more than we’re likely to get from most scions of the famous, but in the context of all three Crumbs’ highly confessional work, it’s disappointing. They propose instead that the interest of the work lies in R. In their prefaces to the book, and in the national media attention that’s come with it, all three artists, R., Aline and Sophie Crumb, acknowledge their nepotism honestly and with humility. ![]() Crumb’s more famous cartoonist parents, Robert and Aline. Crumb’s reworking of a section of an old Tijuana Bible a funny portrait of reality-TV star Snooki sitting on a rocking horse reading The 48 Laws of Power, and other related, more or less sincere studies of tabloid fame and miscellaneous watercolors and drawings, some of them made as gifts for Ms. There are a few pretty watercolors (in inkjet reproduction) some single- and double-page comics, including Ms. The show is organized not thematically but anthologically. Norton, of Evolution of a Crazy Artist, a full-color, chronological compilation of the artist’s drawings dating back to her early childhood. DKCT Contemporary on the Bowery is currently hosting cartoonist Sophie Crumb’s debut New York show, in conjunction with the release, by W.W. ![]()
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